It should come as no surprise that my favourite film series is of course Godzilla. I don’t know how many times I must have mentioned it to people I know, people passing by, or the number of posts I have written on the subject on this very blog that you are reading now (speaking of which, did you know this is my 500th post?). Yes, I love Godzilla movies! Ever since I was a young boy to right now and probably beyond, I have had a craving fascination for a film series starring a Giant Nuclear Irradiated Japanese Monster. While there are a lot of really great movies out there not including/starring Godzilla, it should come as no surprise that my Top 10 absolute favourite films are all Godzilla films. But which ones though? You see back in 2014, after the release of the 2014 Godzilla film, I thought I would finally work it out. What do I mean by that, well, you see the thing is that for many years I had always said which ones were likely and which ones would be high up but I never actually had a defined list of which were my top 10 favourites, just an idea. So with the 2014 film out of the way and to sort of celebrate I thought I would work it out.

To zone in and find for definite which ones are my favourite and then order them was always going to be trivial. How I actually did it was like this:

I ordered the films in order of when they were released starting from the original 1954 film, to the 2014 film.

I then picked out the ones I thought were terrible (and there are 3 I can think of) and deleted them off the sheet.

Even after cycling through some bad ones, I still had near 25 to choose from, so I just worked through them from there, picking out ones I did not feel strongly for until I get to a more definitive list (between 15 and 20) to then think more carefully about.

As the process continued, some of the remaining films became obvious as to being ones I absolutely loved, so I then began to order those ones around a little.

From there it became a process of difficult elimination as I analysed the films in my head and said to myself; “Is that one better than that one?”

In the end it came down to 12 films and a difficult choice to get to specifically 10, so I worked hard and finally whittled it down to just 10 films.

I then repeated step 5 to put the surviving 10 in order from 10 to 1.

Making this list was actually rather fun and interesting experience, and one I look forward to doing again in the future, but to which series I do not know (probably Studio Ghibli once I get more head on into it). There is a little bit of an issue with the choosing process, and that is I have not actually seen Invasion of Astro-Monster or Son of Godzilla. Invasion of Astro-Monster is on my shelf, and just haven’t got round to watching it yet, whilst I do remember seeing something of Son of Godzilla from when I was about 4 years old, but as I cannot currently get a copy of it, I am pretty much stuck. If anything, the only other one I have not seen is Godzilla Resurgence…..which has not been released yet. As this list goes though, there are still plenty of surprises…possibly. Some surprises for me as some films I was sure of being on here are not, and some surprises for you my wonderful readers as to where some films have been placed, however, being the Godzilla fan that I am, I will not have put it in that position unless I thought that it deserves to not only be on this list, but also in that position. Anyway, introduction’s over, I hope you enjoy this post as much as I have enjoyed working it all out. So sit back, relax (not unless you are like me and have to lean in on a computer to read something), and find out what my Top 10 Favourite Godzilla films are.

10. Godzilla vs Mechagodzilla – An Ancient prophecy begins to come to fruition when a dark cloud in the shape of Mount Fuji appears in the sky. The prophecy states that a Giant Monster will come along to destroy the land. Things take a confusing turn however when the Monster that appears turns out to be Godzilla. Things take an even bigger twist when another monster, who also looks a lot like Godzilla appears also. With everyone by this point really confused, the first one decides to shed its skin and reveals itself to be a cybernetic clone.

The 1970’s were not a great time for the Godzilla series. From the start of the decade the series was already beginning to slump with the mediocre release of Godzilla vs Hedorah. Things then got even worse as the two films that followed were mostly made up of Stock Footage and very little were actually filmed. This landslide from Great films to terrible films appeared to be unending, until veteran director Jun Fukuda returned. Having previously done three Godzilla films in the past, and being one of the most important directors in the series, it came down to him to turn Godzilla’s fortune’s around; which he did spectacularly. Out with the stock footage; back in with actual film making. This film in the series was also made up with a lot of firsts: While Godzilla and Anguirus make an appearance in the film, both King Caesar and the now legendary MechaGodzilla both made their debut in this film. The film manages to cram a lot of human story and character elements into it also, with the characters having to help the Monsters as best they can; because otherwise, the green-skinned ape aliens would win. With a very jazzy soundtrack from Masaru Sato and also showing how fun a night time chase around a ferry cruise could be, Godzilla vs MechaGodzilla remains one of the series most stand out and thoroughly enjoyable entries into the series.

9. Godzilla Against Mechagodzilla – In 1954, the monster simply called Godzilla attacked Japan and left Tokyo in ruins. Over the next 40+ years; several more Giant Monsters including Gaira, Mothra and a monster that looks a lot like Godzilla attack the nation. Having had enough, the country of Japan launches a new weapons program to build a machine specifically designed to defend themselves from these attacks. The machine code-named Kiryu is built on the fossilized skeleton of the original Godzilla. When Godzilla suddenly reappears, Kiryu is sent into action. After hardly any battle, Godzilla leaves, but Kiryu runs amok in Tokyo, but why?

Since the release of Godzilla vs Mechagodzilla, MechaGodzilla has been redeployed in a film sense on several occasions. But the 2 times between this and the original did not fare so well and did not impact all that greatly. By the Millennium, and with the new series in full swing, Toho brought MechaGodzilla back, and created one of the Millennium Series most stand out films. In comparison to the above mentioned film, this one is not crammed full of characters, with instead only 3 really appearing as leads; but in this instance they are worked on in a great deal. The story and setting produce an initially terrifying but also heart-warming story telling of the connection between man and machine while also creating an initial yet terrifying plot twist, with not Godzilla necessarily running amok, but the weapon. Still providing the best in monster mash-ups, and up to date special effects as well as terrific pieces by Michiru Oshima for an unforgettable main movie theme, Against is an absolutely superb film and is easily Mechagodzilla’s best film appearance to date (not unless Legendary have plans).

8. Godzilla 2014 – In 1954; something is discovered by the American navy; this thing is quickly covered up and supposedly destroyed. Nearly 50 years later, a nuclear power plant is destroyed supposedly in an earthquake. Sometime later, the husband of a scientist who died in the power plant goes mad trying to prove it wasn’t an accident, and he was right, as inside the power plant is a Giant Monster which escapes it’s confines and goes on the rampage.

In 2010, Legendary Pictures announced it was going to make a brand new American Godzilla film, even though in the end we had to wait 4 years for it to be released. I went to see it on opening night, and absolutely loved it. It was near perfect, Godzilla himself was perfect, and the new MUTO’s were amazing creatures, all combined into a very human story (that seemed strangely similar to Gamera: Guardian of the Universe) supported by a terrific selection of cast, special effects and heart pounding music (composed by Alexandre Desplat), all brought together by Director Gareth Edwards. I enjoyed it so much that I went to see it another two times at the cinema. But for me, the real proof of the pudding came the Saturday after it was released. I had the night off, and really wanted to watch a Godzilla film for some reason, so I watched Ghidorah, the Three Headed Monster, one of my favourite Showa films and one I have always enjoyed. But right there and then, I was struggling to enjoy it as much as I used to…..I wonder why?

7. Ebirah: Horror of the Deep – A young man who is looking for his brother lost at sea, finds a couple of people at a dance contest who take him to see some boats. They go aboard one, and the following morning the young man steals it, which ironically has already been stolen. After several days at sea, they get caught in a storm and the boat is destroyed by a giant claw. They all wash up on shore and discover that the giant claw belongs to a giant Lobster called Ebirah. Yet more nightmares are to be realised however as the island is the base for a terrorist group called the Red Bamboo, and the island boasts yet another secret.

With the Godzilla film series now in full swing, directing duties were handed over to hot up and coming director Jun Fukuda. Most of his previous work involved comedy and mystery, but in all fairness, Ebirah wasn’t any normal Godzilla film. It was originally intended to be made as a King Kong film, but Toho decided to make it a Godzilla film instead; such is why Godzilla does not smash-up a city, as well as show off several un-Godzilla like traits including attacking Mothra after supposedly now being friends. Any who; as a young boy, this one stood out for me a lot as for quite a while it was the only Godzilla film I had VHS access to, until the collection grew. As time has passed and other films have come that I prefer to it, this remains one of the films I have enjoyed the most. It’s not just a connection to my youth, but also a film that I have come to love with a great deal of memory and passion with many scenes, quotes and a heart thrilling caper like soundtrack being many a highlight. It’s place on this list always a guarantee; more than any other Godzilla film, it’s possibly the most enduring and one that I have conceivably the most memories of just watching it over and over again, even remembering specific times and days of watching it.

6. The Return of Godzilla – In 1984, it’s been 30 years since Godzilla attacked Japan, but has not been since. His presence has still cast a shadow over the nation even as it progresses into a modern high-tech future. Out at sea, a fishing boat is discovered where only one member of its crew survived. He talks about seeing a Monster and as time passes, more incidents get reported, and it’s all revealed to be true, that Godzilla has indeed returned.

After nearly a decade since Godzilla’s last movie appearance (Terror of Mechagodzilla), Toho finally decided to bring the monster back during the ever-growing tensions of the cold war. It was perfect, with the monster having lost his terrifying persona over 20 years of film making, they brought him back to his terrifying self in a movie that ignored all events of the films in between this and the original. This was also only the second time in the series that Godzilla attacked a city and did not fight another monster. Yes, while we all love a good fight, Toho showcased how terrifying, realistic and enjoyable a Godzilla film could be when he is not surrounded by other Monsters. This film would go on to kick-start the best era of Godzilla movies to date: the Heisei series; and while Godzilla the hero would come out to play a couple more times, the producers worked really hard to maintain Godzilla’s terrifying position and persona throughout. More than any film, this one ensured Godzilla’s long lasting cinema presence, one that is still being seen to this day.

5. Destroy All Monsters – The year is 1999 (hypothetically), and all the monsters of the world have been collected and made to live together on an island decidedly called Monster Land. All of a sudden communications with the control station nearby is lost, and the supposedly ‘contained’ monsters all start attacking the Major Cities of the world, all except Tokyo?

What was originally intended to be the final Godzilla film, and as such was given a much bigger budget, remains one of the most popular in the series. Having just done some research, I have discovered that this is one of only a few Japanese Godzilla films to have a fresh rating on Rotten Tomatoes. In fact, for about 11 years, this was my favourite film. What sets this film apart from others is its large cast of Monsters. Loads of Monsters appear in this film, some remaining real favourites and some of the most endearing monsters in the series. Plenty of city destruction takes place, with others than Tokyo being hit for once, all the while setting the early instigations into an alien conspiracy. Expect some of the most memorable pieces of music, and some of the best military vs monster scenes to date as Godzilla leads the charge of the Monsters (which includes but is not limited to: Gorosaurus, Rodan, Varan, Manda and Baragon).

4. Godzilla vs King Ghidorah – In 1992, over the sky of Tokyo, a UFO is spotted. It is eventually tracked, where it turns out not to be aliens, but people from the future. These people go on to talk about the future non-existence of Japan as a nation and that the country is to be finally destroyed by Godzilla. They send a team back in time to an island battlefield in World War Two, where the Dinosaur that would become Godzilla first appears; sending it to the bearing sea, preventing it from evolving into Godzilla. Returning to the present day, rumours of a new monster begin to circulate.

This film easily remains one of the most beloved films in the series by fans. After struggling to get Godzilla going with the release of Godzilla vs Biollante, it was decided that for their next film that Godzilla would fight his arch-nemesis for the first time in nearly 20 years: the three-headed golden dragon; King Ghidorah. This new film in essence is based on the popularity of the time travelling element in the recently released Back to the Future films while also combining it with a story that focusses on how Godzilla became Godzilla. Its story; while basic does achieve quite a bit, with the implication that with Godzilla removed from history, King Ghidorah takes his place and is under the control of people with vengeance on their mind, only for their plans to eventually backfire. Godzilla vs King Ghidorah in the process creates some terrific scenes of city destruction, as well as not one but two incredibly well fought battles as Godzilla goes one on one with his Greatest Nemesis, in a battle that leaves one monster horribly scarred for life.

3. Godzilla 1954 – Out at sea, several fishing boats are mysteriously destroyed. On a nearby island, the village is destroyed a few days later. A team is dispatched to investigate, and make a chilling discovery, one that will bring repercussions for the country of Japan for decades to come.

1954 was a big year for Japanese cinema, especially more so for Toho. A few months earlier they released the Akira Kurosawa masterpiece Seven Samurai, but on set; apparently everyone was talking about something called Gojira. After trying to produce a film in Jakarta which ultimately fell through, Toho producer Tomoyuki Tanaka took two pieces of inspiration: the Lucky Dragon 5 fishing boat incident and the Ray Harryhausen film; The Beast from 20,000 Fathoms and in the process created Japan’s first movie Monster. Taking into account the destruction dealt upon Japan at the end of World War 2 by not one, but two Nuclear Bombs, Tanaka created a creature born of the forces of Nuclear Power and Nature’s answer to humanities destructive attitude and set this new monster loose in Japan’s Capital. Backed up with a terrifying soundtrack by composer Akira Ifukube, and the latest in Special Effects by Eiji Tsuburaya, all under the direction of Ishirō Honda; I believe they say: “The rest is History!”

2. Godzilla vs Mothra – Out in space, a meteor strikes earth, and a Typhoon ensues revealing a giant egg. A team is dispatched to investigate the island where they find the egg and are told a harrowing tale of how an ancient battle was fought between Earth’s guardian Mothra, and another monster similar in design called Battra, who might have reawakened.

For over 11 years or so, Destroy all Monsters was my favourite film, until by chance I was able to get a copy of this film, and within one showing I knew this was my new favourite film. What is basically a film telling something of a lesson of the importance of keeping earth clean, and what is renowned as being rather rushed, is also a fantastically enjoyable film. It is rife with elements of tension; lots of city based destruction, and so far the only film in the series to contain one of the series best creations, the creature known as Battra. Containing some great acting, a fully thriving in-depth story and some amazing Monster Powers to create a full on power play of a Monster Battle climax, Godzilla vs Mothra in sense recreates the story of Mothra vs Godzilla, but ultra-charges it into the early to mid-nineties, and in the process creates one of the series best films to date.

1. Godzilla, Mothra and King Ghidorah: Giant Monsters All Out Attack – Across Japan, several incidents take place, in each one a Monster being spotted. It has been nearly 50 years since Godzilla attacked and has not been seen since, and his print on Japan’s history is slowly being forgotten. Meanwhile a young Science Fiction TV Presenter goes on the trail of an ancient legend concerning the reawakening of several monsters, monsters determined to make sure Japan does not forget its history, but more importantly, make sure Japan is defended from the return of the King of the Monsters.

During Christmas 2007 (I think it was 2007), I received a couple of Godzilla DVD’s from my parents. One of them was this, with the other being Godzilla: Tokyo S.O.S. I was certain that Tokyo S.O.S. was going to be the better of the two, boy was I wrong. I had no real clue as to what this film was going to be like, but boy did I enjoy it. Directed by the man behind the Gamera Heisei Trilogy: Shusuke Kaneko and including a mystical based soundtrack from Kow Otani, Godzilla, Mothra and King Ghidorah: Giant Monsters All Out Attack is a very different film to its predecessors. What we have here is less a modernistic take on Godzilla, but more one that relies on the myths and legends of Japan’s history and combining it with the terror that Godzilla should stand for; and that’s what we get. We get three Monsters teaming up to take on Godzilla which includes Baragon, while Godzilla himself shows off his real power. He has bare white eyes, and can create an atom bomb like explosion from the power of his atomic breath. The monsters are relatively smaller than before, but their power isn’t by far. Its story of a Mystical history is addictive, its cast is effective, its soundtrack is enchanting, its effects are magical and its ending is terrifying. I watched this film many a time before I finally realised that this was my favourite film, and my favourite film it remains. To me at least (how long this will last is yet to be seen, but for now), of this I am certain; this is the best of the best, My Favourite Godzilla Film.

What is it like to be alone? I am not talking about being alone for a couple of hours, or away from home, no, being alone for great lengths of time, days, weeks, months or even years. No human interaction, just living with the thoughts going through your head. The things that you must dwell on, the beliefs you have, the reasons as to why you are like this. Then imagine, that out of nowhere someone comes looking for you, and offers you a way out, will you take it?

In 1945, Logan (Hugh Jackman) is being kept as a POW in Nagasaki Japan when the Nuclear Bomb is dropped. As the bomb gets closer to him, Logan rescues Army Officer Ichiro Yashida (Ken Yamamura), sheltering him from the blast and nuclear fallout, healing almost instantly. In the present day, Logan is living alone in the Yukon Mountains, tormented by dreams of Jean Grey (Famke Janssen) who he was forced to kill. One night, while getting retribution for the death of a Bear, Logan is found by Yukio (Rila Fukushima), a mutant who can see people’s deaths. She asks him to come to Japan to see Yashida who is about to die of old age. Although reluctant, Logan goes to Japan and meets Yashida’s son Shingen (Hiroyuki Sanada) and granddaughter Mariko (Tao Okamoto). After being given a wash and haircut, Logan goes on to meet Yashida (Hal Yamanouchi) who is now a very rich man and head of Yashida Industries, one of the biggest companies in Japan. He tells Logan that he wants his ability to heal handed over to him so that he can live on forever, and Logan can be finally rid of his immortality. Logan refuses claiming it’s a curse and that Yashida doesn’t really want it. During the night, Yashida’s physician Dr. Green (Svetlana Khodchenkova), also a mutant better known as Viper, attacks Logan; he dismisses it as a dream, but wakes up to hear that Yashida has died.

Logan attends the funeral for Yashida which is watched over by archer Kenuichio Harada (Will Yun Lee), and Mariko’s Fiancé; Noburo Mori (Brian Tee). Suddenly the funeral is attacked by Yakuza men who try to kidnap Mariko. They shoot Logan, who suddenly can’t heal from his injuries. He manages to get his strength together and runs after the Yakuza soldiers, and rescue Mariko. Once they have some distance from them, Mariko tries to make her own way home, but Logan follows her onto a bullet train, attacks some men sent to look for Mariko, and then checks both him and Mariko into a Love Hotel. During the night, after seeing a vision of Jean, he collapses, and is operated on by a vet who manages to heal him of his injuries. Curious as to what is going on, he follows Mariko to her home in Nagasaki where she reveals that in a few days’ time, she will become head of Yashida Industries. Back at the Yashida residence, Shingen is desperately trying to look for Mariko, while Yukio keeps an eye on him. In Tokyo, Harada is revealed to be working for Dr. Green, who desperately wants him to find Logan. Back in Nagasaki, Logan settles into the life of the village, and finds where he was kept when the bomb struck, remembering his time with Yashida. Slowly both he and Mariko fall for each other. The following morning, Mariko is captured by Yakuza. Logan goes in pursuit, but is still hindered by his sudden inability to heal. The men get away with Mariko, but Logan interrogates one of them.

Yukio arrives to inform Logan, that she has seen how he dies. They go to Tokyo where Logan confronts Noburo who reveals that he has conspired with Shingen to kill Mariko, because Yashida has given control of the company to Mariko, and not him. Mariko is taken to Shingen who ordered the hit on her, but before he can kill her, his residence is attacked by Harada and his ninja’s who take Mariko away with them. Logan and Yukio arrive at the residency, where Logan uses Yashida’s old bed to discover that Dr. Green has implanted something near his heart, preventing him from healing. He performs open heart surgery on himself, when Shingen appears. Yukio attacks Shingen to defend Logan, who succeeds in removing the thing near his heart. Now able to heal again, Logan attacks and kills Shingen.

Logan heads for the village of Yashida’s birth, where Mariko has been taken too. Logan is captured by Harada’s ninja’s, and is strapped to a machine he can’t get out of. Dr. Green reveals that she wants to remove Logan’s healing factor from him and plans to remove his claws using an electromechanical suit of Japanese armour made out of Adamantium called the Silver Samurai. Believing he is working in the best interest of Mariko, Harada tries to prevent her from helping Logan, but she manages to help Logan get out of the machine before the Silver Samurai succeeds in taking off Logan’s claws. Harada and Logan fight the machine, which succeeds in cutting some of Logan’s claws off before killing Harada. Yukio arrives before fighting and eventually killing Dr. Green. The Silver Samurai, although damaged, still manages to remove all of Logan’s claws and begins extracting Logan’s healing factor. At this moment Logan discovers that the Silver Samurai is Yashida, not dead, but alive and begins to feel new life as Logan’s healing is transferred to him. Mariko however, uses Logan’s claws like daggers to disable her grandfather, allowing Wolverine to use his natural bone claws to defeat the Samurai. Succumbing to his encounter, Logan has another encounter with Jean. She asks him to stay, but now believing he has a reason to stay alive tells her No. A few days later, Mariko is made CEO of Yashida industries and bids a sad farewell to Yukio, and then Logan who she wants to stay, still having feelings for him. Yukio decides to stay with Logan as his bodyguard and they both depart.

The Wolverine has an interesting story and setting. It’s not like other Super Hero movies in that there is some great villain with a devastating plan to conquer the universe. Even more strangely it’s a very different setting as compared to other films in the X-Men film series. What has been founded about the other films in the series is that the main plot characteristic that flows from one film to the next, even if it’s not the main plot, is the story of Mutant’s fighting for freedom from a world that hates them. The Wolverine does make mention of this, but not all the time. Neither does it contain an arch super villain. It’s rather grounded and surrounds a group of characters which are all anchored down by one other. The setting and story of the film is that of Logan having to live with something he has done. The Death of Jean Grey, something that he was directly responsible for, but because of his feelings towards her and that he did it for a reason, not in cold blood, he is finding it hard to live on by himself, and being immortal he has no choice but to do that. So what happens? He gets dragged into a very different world, one that wants him, for something he knows nothing about. It’s not that he has walked into it, but rather, it wants him. What keeps him there though is an interesting idea. He doesn’t necessarily need to remain there, he doesn’t even want to, but something happens to him, that causes him to stay. This then explodes in your face and a story gets told, and a plot unravels as something is definitely going on, but then behind that, there is something even more sinister. It eventually wraps up but with a change to our protagonist. This plot then, like mentioned before is not a stereotypical, or common story as in it does not follow its predecessors, but is more a personal story line surrounding one character and how what he does affects those around him. It’s a really interesting story.

I like how the film has kept its characters down to just a few. The Wolverine features a stellar cast of predominantly Japanese actors while also including others of different backgrounds and includes well known characters and the actors who have played them previously. It’s not without its casualties however. Harada and Noburo stand out in particular. Noburo seems like a comedic character on purpose; a light relief for the audience in what is rather an intense film. He just does not seem to serve any major purpose rather than A: to be made fun of and B: to offer some direction for the characters to follow as things begin to unravel. Brian Tee has done an excellent job though from what he has been given to do. Harada on the other hand is a complete mystery. I just don’t know what to say about him. He is played well again, and is an interesting character to look out for; I just think more explanation could have helped, including why he changes his mind in the end. What is his purpose for doing what he is doing? On the plus side he is interesting and adds a mystery depth into a film that goes from a theme of political and corporate corruption, into a story about genetics and desire for immortality. One plus The Wolverine has over X-Men Origins: Wolverine is that it hasn’t tried to desperately include well known, maybe even legendary or iconic characters from the Comic series. In Origins it tried really hard to include well known faces and enemies such as Gambit and Emma Frost, but it just didn’t need some of them. The Wolverine on the other hand really only introduces roughly one new character, and all the others are pivotal to the story and are featured in the story. OK, I have not read the Wolverine comics the story is based on, but it has strived to not bog the audience down in introducing seemingly pointless characters. I am of course talking about Dr. Green. I have no real knowledge of this character or her place in the comics, I do however really like her. She is an interesting blend of a comic style super hero like villain, but also possesses the brains to concoct a plan, like a true villain. She like many characters is a mystery, but one that grows to become the films secondary antagonist. She is Sinister, and like many a good villain possesses powers that are both deadly, and prevent her from being killed. She is very much a villain that you love to hate, one that you can’t wait to see defeated, but are not disappointed when it feels like the moment is never going to happen. Alongside her is of course series regular Jean Grey. While she does not appear in a physical sense, more rather being a hallucination, she does give the story and Logan in particular a sort of grounding. Something for him to deal and come to terms with. Her appearances arrive at the right time too, a sort of stand in to think about what is going on.

It’s probably fair to say that the film has more than one villain. In fact it has lots, but while some work together, there are those who work on the other side. What am I talking about? Well, Shingen. Shingen is a very selfish character. A rough man who shows no real affection for those around him and only thinks about himself, something that is stirred on by the desire for the control of Yashida Industries. He is the films first virtual hurdle as he is the reason for the Yakuza’s involvement and becomes a video game like first boss. He is nowhere near pleasant and much like the film’s other villains is not a man you show the least bit sympathetic towards. While this could be initially seen as more his upbringing and view towards Logan, it begins to be seen that little bit more as time goes on. Once he has been dealt with though, it’s time to face the stories real villain. Yashida is the reason for Logan being there, he is the reason for everything bad that has happened so far. It all leads to one climactic battle with Logan. Taking on the persona of the Silver Samurai, Yashida uses it to finally attain what he has wanted. While he starts out as an old man and seems rather thankful and pleasant, his real motives come quickly, but he is able to mask them behind a sort of reasonable idea. He then disappears as he is believed to be dead, but the moment he is revealed to still be alive is a great shock, a big surprise. It’s the film’s ultimate Plot Twist. His transformation into his younger self is near seamless and the way he talks is just magnificent. He has such a sinister voice that provides for me, one of the most memorable quotes in the entire film (“Hold on… We are almost there!“).

The Wolverine does something that I don’t feel like I have been able to do with the other film’s in the series so far, that being I feel like I can actually for once connect with the character of Logan. In the past he has been a narrator, a supporter, practically everything to even a cameo, but for the first time, I feel like I am able to just connect with him. I once read a quote (trying so hard to find it while writing this, I think it’s from Blake Snyder’s book) which said that film was about a person changing from who he starts off as. From the moment it begins, it’s about Logan living an existence he just wishes would end. A never-ending cycle of death around him done to those he loves. He just can’t live like that anymore and just gives up. As the film goes on; this stays pretty much the same until his relationship with Mariko really takes off. He begins to see more about himself and those around him. He begins to discover new things and realise that life is not what he sees it as and as the film reaches its dramatic conclusion; he has gone from a man who wishes not to live anymore to someone who has found reason to continue living. You feel for him, you journey with him, you experience with him. Such a brilliant character that until now has only just scratched the surface, revealing a character that is more than meets the eye. Something that has always been there, but now has come to light.

Which brings us neatly round to Mariko and Yukio. Let’s start with Mariko. Mariko is the granddaughter of Yashida, and the un-wanting heiress to his company. She very much does not want to get involved, until Logan shows up. It’s around her that the films really begins to kick off as the struggle for control of such a powerful company revolves around the one who is about to get it. Her relationship with Logan starts off rather awkward but leads to a relationship between each other. She is a character that begins to bring out the good side of Logan, one that has been hidden for quite a while. He begins to leave his shell; much like Mariko begins to leave hers to become the film’s brightest star. On the side though is Yukio. Someone who doesn’t have a shell, someone who presents herself as whom they are from the moment they first appear. She is quick to build a relationship with Wolverine as a guide and friend, someone he knows he can trust. She cares greatly for him, but thinks of Logan as nothing more than a friend. She is very protective and caring for Mariko too as they both sees each other as sisters. The screen time these two shares is unlike anything the series has presented so far. Here we have two extraordinary characters played by two fantastic actresses. They are very different in persona with Mariko being more like an adult, and Yukio possessing traits that are more teenage like. Mariko is rather vulnerable, while Yukio is not afraid to fight. But while they are different, they are both nice and pleasant. They have no real flaws to make them seem mean or horrible and from the get go you care greatly for them. They possess a real on-screen presence that can’t be forgotten, and you don’t want to neither. While I have said over and over again in previous that some characters/actors are really enjoyable; these two stand out more than most. Two fantastic characters I can’t get enough of. There has been no announcement about whether or not they will be appearing again in the future, and I think it will be really sad for the characters not to be revisited or invited. I can’t state enough how enjoyable these two characters are. They are two such special characters, played by two terrific actors, ones whose portrayal I don’t want to forget. Two of the best and enjoyable film performances I have seen of any film.

There is one other character though I just have to mention. While this is more setting than character, much like how London can be a character, so can Japan. I love Japan, I have never been, but out of a list of things I want to do, go to Japan is right up there. The Wolverine makes great use of shooting such an amazing country. While there are some terrific set pieces like the Yashida residence and facility, Japan as a setting is the best bit. From the night lights and inner city shots of Tokyo, to the panoramic views of Tokyo (even shots of the city at night in the rain). Like across the river at the Yashida Residence, or the view from the hills showing that while it is a colossal city, it still has boundaries and when looked at from afar, can be such a beautiful sight. But it’s not just Tokyo, Nagasaki is beautiful too. Add to this the cultural life of those who live there, the food (which I really want to eat when I see it), the beliefs, the mixture of modern and the past, just everything is so spectacular that I can’t get enough of what I am seeing. Much like how a character is not just what you see, Japan is not just a setting, but a character too.

Much like past films in the series, The Wolverine uses a spectacular amount of Special Effects, possibly more than those before it. While films like First Class and Last Stand in particular use shots and moments of large things being moved like a Submarine and a Bridge, the effects used in The Wolverine are more up close and personal, such is the tone of the film. It has its big moments like the effects of the Silver Samurai, to moments more close up like Wolverine with a Sword in his stomach. These effects all look incredibly realistic. It’s closer up and personal effect means more can be seen in terms of detail. Because of this extra level of detail, a lot of the films effects look more overly polished and finished, making them stand out more in comparison to the other films in the series. Particular effects I think are definitely worth looking out for include The Dropping of the Atomic Bomb in Nagasaki; to the Bear that Logan knows. Not to forget the films set pieces too. While these are small in number, that is not to say that they are bad or terrible. The film’s final battleground, that of the Yashida Laboratory is particularly superb. There is another kind of effect too, that is the films numerous actions paced and intense fight scenes. All beautifully choreographed and presenting a contrast between fist and sword fights, to elements of parkour to a fight on top of a moving bullet train/Shinkansen. While the fights are slowed down and more visible in the final fight, they are no means bad in comparison. All the fights in this film are amazing and remind me of such fight scenes as in Ong-Bak and The Raid 2.

Something though I feel a bit lacking is the Soundtrack (composed by Marco Beltrami). In the past I have mentioned how the soundtrack in the series is known for standing out and being memorable. But even now as I write I am finding it tricky to think about it. I can remember some bits and bobs like the fights in Tokyo and Nagasaki, the drive back to Tokyo, the outer exterior of the facility and the final fight with Yashida. But it’s only really the film’s end credits theme that stands out. Something that sounds heroic with a cultural style woven in. It makes me think a little bit of the ending of Jurassic World. The way that the film is just a constant inventiveness that ends on a theme that is absolute calm. One that in a way is telling you to breathe. The Wolverine’s end credit does this by having something that is just calm and feels like an end, a good one.

Altogether, The Wolverine is a magnificent film; one of the series most standout moments. Containing characters that you will both love and hate from start to finish and tells a story with nearly an unending number of plot twists that don’t leave any loose ends. It’s a standalone film, that’s one thing that is so good about it. It’s a film that doesn’t necessarily require any previous knowledge or understanding in order to enjoy it as it is all provided for you here and now. It’s a film that you can just pick up and play. I really do recommend this film; it has something for everyone and is so well constructed and written that there is plenty to get your steel claws into. It’s a story filled with Political and Corporate Corruption, Desire, Greed, Lust; but also a film about forgiving ones self, finding a purpose as well as more importantly, friendship, love and compassion. I really want to watch it again, right now.

King of Tokyo is a dice rolling game for up to 6 players released by IELLO and designed by Magic: The Gathering creator Richard Garfield. In King of Tokyo, players take on the role of one of several giant monsters (who happen to not look like any other monsters in particular) who are fighting for ultimate control of Movie Monster paradise; Tokyo City. The first monster to reach 20 points, or alternatively, be the only one with any remaining health, wins to become the true king of Tokyo (but not King of the Monsters, that title has already been claimed).

The game comes with a large collection of components including a small board, power cards, character cards, character pieces, stands, tokens and little green cubes. The game is set up with the small board (a picture of Tokyo with the locations Tokyo and Tokyo Bay on it) placed in the middle. Players then choose which monster they want to be: Giga Zaur, The King, Cyber Bunny, Meka Dragon, Kraken, Alienoid, and take the corresponding character card/board, piece and stand. The character boards themselves have two rotating dials on them. One representing health (starting at 10) and the other representing point score (starting at 0). Players then put their character pieces in the stands and place them near the board. The way the game works is mainly through its dice. 6 black ones with green symbols on them (and 2 extra green ones with black symbols on them). On a players turn, they roll all 6 dice, and compare the results. If they want to they can re-roll any number of dice, if still not happy, they can re-roll one more time. After that, they are stuck with what they whether they like them or not. If players roll a claw, this counts for an attack. If a player is the first one to roll a claw, they take Tokyo. If players roll a heart, they can heal themselves. If they roll a lightning bolt, they get some energy. If they roll 3 of any number, they score points equal to that number (so 3 3’s equals 3 points), plus any extra of that number equals one extra (so 4 2’s equals 3 points). Simple right, well yes in theory, but it’s a little bit trickier than that.

You see, when a player’s monster is in Tokyo, they can’t heal, so rolling hearts is pretty pointless. Also, when someone is in Tokyo, if they roll a claw or any number of claws, then they deal that much damage to every monster outside of Tokyo, however, monsters not in Tokyo that roll claws, only deal damage to the monster currently in Tokyo; so if you are in Tokyo and are taking too much damage, you might want to yield Tokyo to the monster currently attacking you. If you decide to do so, you still take that damage. Yielding Tokyo though presents another problem. When you take Tokyo you get a point, and every time it comes round to your turn, you get an additional 2 points if you are still there. So players (or monsters) will have to decide when they have taken enough damage to yield or to hold Tokyo for a bit longer to attain more points.

Monsters though do have options and opportunities. When a player rolls a lightning bolt they get a little green cube. These can they be used to buy power cards. Power cards have special abilities, some more complicated than others which can help you, or hinder you if someone else buys them. Some cards are permanent, while others are one use only. These power cards range from things like dealing additional damage, poisoning, growing an extra head, getting bigger, get bonus health, reduce other player’s points, coming back to life and deciding to become an omnivore. Alternatively, players have the option to spend 2 energy to wipe out the current selection of three cards to reveal three new ones and then choose from them.

King of Tokyo is a nicely designed game. The monster character cards deliver a nice way to keep both score and keep an eye on the health statistics. The use of dials is also more aesthetically pleasing and easier to use rather than having a card and using a small wooden cube. The artwork for Tokyo and the Monster characters is simple but effective. The little cubes are a wonderful addition. Their clear plastic see-through look makes them that little bit more special and thanks to them being all the same, there is no need to worry about general currency values. The power cards are also cheap which means they can be bought relatively quickly if the right dice are being rolled. The power cards also deliver an extra dimension to the game meaning that those who want to bide their time to get stronger can, while those who just want to roll point numbers and claws can too. It is also very easy to understand and does not rely on confusion between hit points and defence points when rolling claws, instead just saying you get hit, and how much health you subsequently lose. Additionally, I also like the many references to Monster Movies, many a time I have played this and have gotten into noting the references from the creatures and power cards and just enjoy reliving the memories of watching them. I am also always discovering new things. The power card deck is so big and has so many different cards in it, that every time I play it I am discovering new powers and abilities. I like that.

The game though I find does have one little disadvantage. It’s more of a rule that I still don’t understand no matter how many times I have played it; that being the area of Tokyo Bay. Tokyo Bay is used when playing with between 5 and 6 players. The idea is that there is another area of Tokyo, but I don’t understand why it is there, what the advantage of it is, how you get there and how you stay there. I can see the advantage of having two monsters in Tokyo, but this just leads to which monster attacks who when rolling dice. Having a second monster in with more players would also mean two monsters gaining points, but then how does one remain in Tokyo Bay if they are ousted by someone fleeing Tokyo. I just don’t understand the point of having it on the board, and subsequently since, don’t include it when I play it. I also find it hard to understand the part of the rules booklet that explains it.

While I do find the inclusion of Tokyo Bay confusing and or somewhat disappointing, it is a minor glitch in what is generally an easy, and very fun game. I just like the idea of being a Giant Monster and fighting for control of Tokyo (like a certain Giant Monster of whom I am a massive fan of). The game’s mechanics of dice rolling are nice and easy to just pick up and play, the character/monster cards are very easy to use and the addition of power cards are easy to understand and acquire (except for the batteries one). The artwork is terrific and the use of the monster stands are brilliant. The designer could have just used the cards as counters, but instead provides the stands to give a third dimension to both look and gameplay. When added to the board the monsters look huge. King of Tokyo is a game I rank among my favourite board games and is one I feel that everyone should try at least once. It’s not just its theme, but also how easy it is to play and how much enjoyment I have always managed to get out of it. I just can’t get enough out of being a Giant Monster and thrashing Tokyo, it’s so much fun.

60 years ago, a Japanese film producer created his own Movie Monster. The idea came as the national occupation of the American Military after World War 2 ended and there were no longer any limitations on what filmmakers could produce. The country, still reeling from the devastation that had been brought upon their country in the form of the only two nuclear bombs to be dropped on a civilian population, were still paranoid to the side effects of radiation, nine years after the explosion, not to mention the incident involving the fishing vessel Daigo Fukuryū Maru (Lucky Dragon 5) and the national scare that followed. Gaining influence from this the producer created a creature which was not like anything seen before, as this creature was both powered and enraged by the destructive capabilities of the nuclear age. The creature and the film it appeared in were called Gojira, later Americanised to Godzilla. 60 years and more than 25 sequels later, the creature known the world over simply as Godzilla is still as iconic, inspiring and influential as his first appearance back in 1954 and to this day is loved by millions of fans all over the world, including me. 60 Years on and the original Godzilla film is still regarded as a true classic of Cinema.

Released in 1954 by Japanese Movie Studio Toho and Produced by Tomoyuki Tanaka and Directed by Ishirō Honda with Special Effects by Eiji Tsuburaya and a soundtrack composed by Akira Ifukube, Godzilla (also known as Gojira) is the film that introduced the gigantic, fire breathing, nuclear mutant reptile type dinosaur to the world. Godzilla himself is all of those things said beforehand but also a statement of the destructive power of the atomic age and the repercussions brought on by nuclear weapons. With the initial idea coming from the mind of Producer Tomoyuki Tanaka and a story from Director Ishirō Honda and writers Shigeru Kayama and Takeo Murata, the story involved the Discovery of such a creature, and then it’s arrival on the Japanese Mainland.

The film begins with a fishing vessel out at sea, where the onboard fishermen notice a white-hot flash before the ship explodes. The incident is reported another vessel is sent to investigate, but is met with the same fate. Three survivors are picked up by another vessel where a survivor mentions seeing a monster. That ship is then lost too. On Odo Island, an old fisherman (Kuninori Kôdô) and a young man called Shinkichi (Toyoaki Suzuki) spot a raft coming into the bay. On the raft, a man called Masaji (Ren Yamamoto) is rescued. The following morning on the island, the fishermen were unsuccessful in their haul and the old fisherman says it is because of Godzilla. Everyone dismisses it as a legend but he says it is still true. A reporter called Hagiwara (Sachio Sakai) comes to the island to investigate, but when he asks Masaji, he has trouble believing his story of a monster. That night the villagers hold an ancient ceremony to try and soothe Godzilla’s anger. Later that night, a storm comes to the island. As they sleep, Shinkichi hears a crashing sound, runs out of the house but as Masaji tries to follow on he sees something that terrifies him and the house is brought down on him and his mother.

Survivors of the disaster say what they saw trying to say that it was not the storm that caused the destruction and that it was a monster which did it. Palaeontologist Dr. Kyohei Yamane (Takashi Shimura) suggests that an investigation on the island should be conducted. Along with him are his daughter Emiko (Momoko Kōchi) and her boyfriend, salvage ship captain Hideto Ogata (Akira Takarada) along with several other members of authority and scientists including colleague Dr. Tanabe (Fuyuki Murakami). When they reach the island they discover that some of the village wells water are radioactive, but not all of them. The village alarm bell is rang and loud beats are heard as the villagers shout Godzilla. As they race to the top of the hill to see what it is, a giant dinosaur like head appears over the fill with dragon like spines running down its back. The villagers try to run with Emiko in harm’s way, before Ogata rescues her. The creature then disappears as the villagers spot its tracks in the sand below.

Dr. Yamane returns to Tokyo to report his findings. He says that the creature they saw was in fact a dinosaur which has survived in the ocean depths for about two million years before being awoken by recent H-Bomb testing in the pacific. He gives evidence to his theories showing a trilobite which was found in the creature’s foot print and that the sand found on the trilobite was radiated with Strontium 90. At the inquiry, people are undecided if they evidence should be made public, with some saying yes because it’s true, and others saying no, because it will harm international relations. In the end it is made public, and Dr. Yamane is asked to help find a way to kill the creature, but he wants the creature to be kept alive and studied. Ogata and Emiko talk about wanting to get married instead of Emiko marrying her current fiancé. Hagiwara asks Emiko is she can get an interview with her fiancé, and she says yes, just so she can talk to him herself. Hagiwara talks to the man, a young scientist with an eye patch over one eye called Dr. Daisuke Serizawa (Akihiko Hirata). He is however very secret about his work and when asked about Godzilla he tries to avoid the question. Hagiwara leaves and Serizawa shows Emiko his work, trusting that she won’t tell anyone about it. They go into his laboratory and look at a fish tank. Something happens inside it which horrifies Emiko.

That night, Godzilla arrives and attacks Tokyo. The attack is very brief but he destroys a railway under is weight with ease. The next day the military set up a defensive line with a giant electric fence in the form of electrical pylons charged up to 50,000 volts. At home Emiko and Ogata still struggle to tell Emiko’s dad about their relationship. Godzilla attacks once again and breaks through the electric barricade with ease by melting the pylons with his atomic breath. The defense line is no match for the invading monster as tanks and guns don’t seem to have any effect on him. Godzilla then goes on a rampage setting fire to buildings and toppling others with sheer strength. The military and emergency services are told to try and control the fire, but it seems that nothing can be done for the might of the monster. Godzilla continues his attack with absolutely nothing able to stop him destroying everything in his path. Godzilla eventually leaves the bay unscathed despite an attempt to kill him by the Japanese air force.

The next day Tokyo is in ruins. While at a shelter with some of the survivors, Emiko breaks her promise and tells Ogata what happened at Serizawa’s lab. Serizawa has discovered a lethal energy within oxygen with it and created his own weapon which he calls the Oxygen Destroyer. His demonstration of the device is what scared Emiko as it killed the fish in the tank. Convinced that the device can be used to kill Godzilla, Ogata and Emiko go to see Serizawa, who tries to hide and get rid of the evidence. He says that he didn’t want to discover the energy and that if it was used once, it will be used again and again, just like nuclear weapons and that if it does get used he will kill himself to prevent it being used again. A song is then broadcast across the nation, a song of a group of school girls praying for hope. Serizawa sees this and agrees to use the weapon on Godzilla, but only once and burns his notes. A fleet of ships travel into Tokyo bay and locate Godzilla underwater. Serizawa says that he needs to go underwater to use the device despite not being a diver. Ogata lets him providing that he goes with him. When they get underwater they spot Godzilla. Ogata heads back to the surface while Serizawa activates the device. The device begins to choke Godzilla who dies within a couple of minutes of the device’s activation. Serizawa tells Emiko and Ogata to be happy before he disconnects his breathing apparatus, killing himself. Dr. Yamane reflects on the possibility of another Godzilla appearing one day if the world keeps on using nuclear weapons, while Emiko breaks down at the knowledge of Serizawa’s death. The navy salutes the courage and death of Serizawa.

Godzilla is a tale of many stories but for the most part on the human side it is a story of four people and their relation to what is happening in the moment. Ogata’s personality, while still being young is very mature and while what is going on is frightening, he is able to keep a level head in the moment. His love and care for Emiko is well noted and it is only in that respect really that he is an action man, saving her from Godzilla for instance. He also takes the moral high ground given what he finds out about Serizawa and doesn’t want the oxygen destroyer for himself, but to use it against the monster, and even when facing odds against Emiko’s father, he still takes the high ground for civilization. Ogata’s character is a bizarre mix as he appears to be a character without flaws, but despite this though his role is rather enjoyable.

Dr. Yamane however is the science character of the film. Many of these monster films usually require such a character to explain the monsters existence. For a character though, he makes science both look morally flawed and a little bit selfish. While understandable that a man of science wants to study such an amazing creature, his total lack of understanding and acknowledgement the damage such a creature can cause is noticeable and even when he comes into confrontation with Ogata he will not budge. While he does have a level of sympathy on part with the audience in his earlier moments, such as his explanation on the existence of Godzilla and his time on the island as an excited scientist, his spiral into a basic state of sadness and desperation at the desire for Godzilla to remain alive, puts him more on the side of an antagonist in the midway to later parts in the film. While a level of sorrow is displayed on his part, to the point of view of the audience he no longer has that energy like he did in the early stages and you almost fall out with him, and even when the end comes his almost selfish want for a Godzilla remains present and his own sorrow is probably only partial for that of the death of his friend, and more for the death of the monster.

Emiko plays the part of the film’s narrator as almost all key film moments revolve and include her in some manner of form, and is introduced very early on for this point. Her part of the fiancé to a man she doesn’t really want to marry, her caring relationship with for her father and the relationship she wants with Ogata. It’s her friendship to Serizawa though that her character becomes strongest in the film. His trust for her, the horror she sees in the fish tank, the need to keep it quiet but the burden of its knowledge, the devastation to herself of revealing the secret and by this she knows that she has killed him, knowing he will commit suicide and it is only from his death that she can be with Ogata, and the blessing Serizawa gives for both of them at the end almost ruins her. She is the emotional anchor for the film and the character that connects the audience to the events on-screen, her look of questioning when she finds out about the sinking at the beginning and the questions that grow from that. It’s a natural reaction, one which the audience need in order for them to be brought in and get involved in the film’s earliest moments. Whilst her character is mostly played on the part of expression than speaking, she is enjoyable from start to finish and is one of the film’s main outstanding (human) points.

The character of Serizawa though is different to the others as he himself, much like Godzilla has a major point and story to him, one of excitement and regret. His desire to study oxygen leads him to a terrible discovery, but as a scientist he can’t but help take a look and it’s only from this actual doing motion that he comes to regret his actions. It is from this point that he becomes secretive, so that no one can do the same thing again and make sure no one knows about his discovery. But it is in turn the human need for accompaniment and need for personal help that he tells the only person he can trust. Thus he reveals his actions to Emiko and through this shows his great regret. He is in many a sense a true scientist as he thinks more about discovery to help mankind and not destroy, but knowing himself the actions of what war and destruction brings due to the loss of his eye, he knows that if a piece of science has potential to be a weapon and is revealed it will be used again and again. It does become obvious in a sense that he does kill himself, mainly because he says he will, but also because he is a damaged man and can’t see any way to end his personal pain; but due to how likeable a character he is, you don’t want him to and there is a real emotional attachment to him taking his own life and you do feel that sorrow. On top of that, Serizawa also adds a little twist to the film’s plot. The film is one of very few films that works in tandem with its trailer. Serizawa shows Emiko his invention, but initially the audience does not see it, and the trailer teases this point also, but you wonder if his scientific study and discovery are him actually creating Godzilla. Its like; he’s Dr. Frankenstein creating his own Monster, but by accident or not, we don’t currently know. It’s only until Emiko reveals to Ogata what Serizawa showed her that everything clears up, but for a moment you wonder. You question if Godzilla is this mutated dinosaur at all, or if he was actually created in a lab. But it’s only really the case when you look deeply into this possible plot twist, that you think about it; something that the film and trailer do well together. It’s from the portrayal of Serizawa by Akihiko Hirata and how well the film is put together that achieves this effect, and it’s an effect well done.

While these four are the film’s main human characters, they are not alone in this area; however some of these don’t have much of a presence. The character of Hagiwara for example is a brilliant journalist as he is both sceptical and pushy, but as for a part, not much else is really shown about him for him to be a character of great interest, but when he is on-screen he is played rather well. The role of Shinkichi though doesn’t have much weight as he is more of a friend to Ogata and while he does show a lot of sorrow to the death of his brother and mother, a scene which is a definite highlight in the early stages of the film and does show a lot of depth, for the rest of the film, his part seems to have forgotten about this and does not carry the weight of it and for the rest of the film he is more like a whisper than a key player; the part of his brother Masaji however is terrific. He gets very little air time but it’s the moment on the island when he runs out after his brother and sees something terrifying. The shock and terror registered on his face makes a connection with the audience as to state that there is something else going on, and that this is no ordinary storm. It’s this use of the power of suggestion that grips the audience. Other characters of note include the woman on the train who also appears on the pleasure vessel, the woman and the man arguing at the science debate as to what to do about Godzilla, as well as the session chair. The fishing girl dismissing Godzilla as just a legend and the homeless mother and her kids coming to terms with the situation.

But to me, the best out of all these other characters is the village elder played by Kuninori Kôdô. What is in essence a similar role to the part he played in Seven Samurai a few months previously, his part though is not that of the village elder but more an old-fashioned villager who remains to believe in the myths and legends of the area, including Godzilla. He is passionate about such things and can feel when something is not right, and even when he is shot down by the fisher girls about such a legend, he remains passionate about it shooting down nay sayers and almost passing off a threat by stating that the village may have to sacrifice one of them. This strong rage really stands out and it shows in his acting and presence, even more so when his character is centred in shot a brilliant scene. While later on he does calm down to discuss the village ceremony, his passion for the legend still holds out and is able to give a real insight into the ceremony.

All of these characters though are minute, literally in comparison to the film’s title character. Godzilla at first glance appears to be just a giant dinosaur with the ability to breathe fire. He is a lot more than that though. He is the testament to the destruction and power of nuclear weaponry and technology. His initial start in this film is that of a sighting or a rumour as he is the cause of the destruction of the ships, but you don’t see him doing it. The only evidence to begin with of the existence of the creature in the film is the sound of his roar in the credits, but you don’t know what that is yet. As the story unfolds you get more of an identity of who he is from people mentioning the existence and legend of a monster. The first real sighting of the creature is not for about 10 minutes or so when he is just in shot destroying a house, but it’s still just a glimpse. By this moment you get a feeling of something big and nasty on its way, you just as yet don’t know what. His first proper full appearance on Odo Island finally attaches a physical being to the stories and evidence so far presented and now you know what Godzilla is you begin to wonder what he is capable of. Now that his identity is confirmed he becomes a more virtual part (rather than a rumour or a belief) of the film and begins to play out his part and what he stands for. For the rest of the film he is this approaching destruction, his power has already been proven, but now he is coming to do a whole lot more to a civilian population.

Godzilla in essence and character is a representation of the destruction caused to Japan at the end of the second world war with the detonation of the nuclear bomb on both Hiroshima and Nagasaki, but instead of the giant mushroom cloud, he is nature’s answer. He is powered and mutated by nuclear power and presents the raw power of nature at its angriest. He is not just a creature; he is a sort of spirit as well as a metaphor for the nuclear age but in physical form. His walk through downtown Tokyo as well as the destruction he causes is the representation of the power of nuclear weapons along with his Atomic Deathray which is the unstoppable fire. His presence and look works both ways as his flesh has been burned and damaged from the testing of nuclear weapons, but also the sheer sight and power of such a creature, a creature that (as far as we know) does not exist, but can be seen here and now, right in front of you, and it terrifies you. He is the result of careless actions on the part of humanity and is a testament of mankind bringing such destruction upon themselves and as a result he has come to do to them what they have done to the world. He is at both heart and sight a Monster, but he is also a signature of a country whose recent history has gone through so much hardship and destruction and forcing them to go through that again.

As for his actual look and appearance. The choice of black and white for the film’s format works perfectly. It presents the Monster as a shadow in the night and a terror that could be accidently not noticed if you are unlucky. His look as that of an upright dinosaur is brilliant and the spines down his back give the idea of a dragon and add more personality into the creature’s look. The Deathray is a great bonus to the character. The sheer presence and sight of the creature is enough to get the attention of the audience and give them something to remember just by its own merit, the addition of the Atomic Breath though gives the creature something more, something that gives his already majestic and terrifying appearance more power. His strength is also represented beautifully with modern weapons having absolutely no effect on him, at all. He can’t be stopped, something that becomes more abundantly clear in moments such as where he walks through the electric barrier fence, when the attacking planes and tanks have absolutely no effect on him and the moment where he bites into the Tokyo tower, all of them terrific scenes. The use of the name as a whole makes Godzilla automatically grander than other monsters as giving him a name, gives him personality and character. He is not a thing, he is not just a creature, there is something more and now you have a name to connect to him. His look, power and abilities are all his and next time you see him, you automatically know what he is capable of.

The film’s special effects are terrific and when combined with what kind of effects can be produced today is still thoroughly enjoyable. While the production team, particularly Eiji Tsuburaya wanted to achieve the effects with stop-motion animation, they were unable to do so and so had to of course use a suit (worn by Haruo Nakajima). But the upside to this is that in comparison to stop motion animation, the effects have a more fluid and believable basis of movement and when used in comparison with miniatures give a real sense to the size and power of Godzilla as well as the level of detail on show. Even the little flicks and strokes of the tail and hands are a beauty to behold. It actually looks like a monster moving instead of a lot of jittery movement. The miniatures are wonderfully produced and brought to life with simple methods. Even in the close up shots of planes and tanks bring a degree of life into them. Other little touches of superb special effects include the death and disappearance of the fish in the tank and Godzilla at the end as well as the demonstration of the Oxygen Destroyer. The underwater scenes at the end are terrifically shot and give a real presence to the viewer of actually being there. For the most part there is this genuine feeling that the staff at Toho were genuinely looking forward to destroying Tokyo. For a film produced 60 years ago this level of detail is still enjoyable to this day and shows real craftsmanship.

The music and sound part of the film is a real highlight. The film makes a lot of use of music that is more on the dark and sorrow side and hardly if at all has pieces that are happier or upbeat. Scenes such as the science party on the island, after the destruction and at the very end not to mention the song delivered by the schoolgirls have a real impact to help deliver the films emotional points. In a similar vein, the underwater piece has a similar style but is more along the lines of discovery with the emotional coming in when Serizawa dies. The films darker pieces are used more for the part of sensing and seeing the destruction that is being caused. It’s mainly used in a later scene of Godzilla trashing down town Tokyo and an earlier scene where he crushes the railway. With the use of heavy beats that shock the audience to attention while still keeping the dark tone, the themes used in these scenes are not being used to show anything tasteful, more horrific and scary and dark and terrifying while also encasing an element of wonder and amazement, but not in a nice way at all, but in the heaviest, scariest way possible.

The attack on Odo Island as well as Godzilla’s early moments of attack to his full on rampage through Tokyo still hold a dark impression on the scene through the music, but it’s quicker in tone giving more a sense of tension and drama than horror and gives the audience a break from the emotional side and allows a little bit of action here and there, plus the music works well with the storm. The ceremony scene and the ritual music in the ceremony is a nice little scene too. The main theme though is the best. It does not carry any emotion, or dark themes allowing it to be more upbeat. The piece is very classical and can be seen that way. It is a far more traditional piece of music using traditional methods and instruments but in itself holds a level of action and gets the listener interested and the included use of the Monster Roars from Godzilla during the opening credits adds a level of mystery and questioning as you the viewer want to find out what is making that noise. Well, it doesn’t sound like an instrument does it? Sounds more like an animal. It works during the film too for when the jets come to attack Godzilla; it feels more like a relief, as if a rescue has come to save you from the disaster that has just unfolded and it is used again earlier on as well when the army gets ready to defend itself from the coming Monster. Overall it’s a piece that works well and has continued to work since (even if the level, sound and composure has changed variously over 60 years), now recognised in association with Godzilla himself as his main theme.

Sound effects are not just kept for Music though. Godzilla himself needed a roar, and a roar was produced thanks to the film’s composer Akira Ifukube. The effect of the roar was made with the use of a double bass (contrabass) and the strings being pulled by wax-coated latex gloves and then slowed down. The distinctive roar was produced at a time when the production team experimented with animal noises but couldn’t get the sound right. This bizarre approach to producing such a sound though worked and has remained Godzilla’s roar since. The roar itself is a very powerful sound and gives an extra level of detail to the personality of the creature. This sound does not waver during the film and every sound Godzilla makes with his mouth has a connection with it, from growls and screams, to just announcing his presence and shouting at pitiful humans this in turn gives Godzilla his own distinctive voice and one that is enjoyable to listen to (even if it comes from a destructive creature who could crush the building currently separating you from him).

Godzilla produces something for everyone. It has moments of drama, action, tension, love, tragedy and not to mention a whole lot of destruction. While the film at its basis is a film about a Giant monster, there is a lot in the human side of the film to produce a human side story to what is going on as well as little sub plots which have no involvement of the title monster. The Film is a story and a metaphor as to the results and consequences of nuclear destruction with moments where characters talk about their recent lives before the discovery of the monster as well as connotations with events from nine years previously. But while the film mentions those points, you need to remember what the film is really about, it’s about survival, survival from unknown threats only just discovered and the lengths people are willing to go to, to survive such things but don’t take the time to think about what will happen afterwards when greed and power takes over. This comes in the form of a Giant Monster, which is then killed by a weapon which was discovered accidently and then the scientist who kills himself knowing he couldn’t live with himself after using it. Alongside this it is also a very sad and emotional film. While the film begins with a question and leads to discovery, it ends with tragic consequences. While the end result of the menace being killed, it is achieved through a sad and tragic loss of a man sacrificing himself in order to get rid of the creature, but also himself. It’s not a happy note, it’s a very sorrowful note; and this is one of the film’s greatest power’s. Not just the power’s of Godzilla and nature, but also the power of Human Emotion. All together, Godzilla is an Absolutely, and Terrifyingly, Fantastic film which while may not be your cup of tea, is definitely worth watching. It is enjoyable from start to finish, minute for minute with great music, sound, special effects, characters, story and one big lizard, what’s not to like about that? 60 years on it is still one terrific film and more importantly it heralded in a new cinematic icon called GODZILLA.

GENEPOOL (Unfortunately, while I was originally able to find an original trailer of Godzilla 1954, that has since been taken off YouTube; however, I feel that the above trailer that uses shots of the original film in a 2014 trailer style is a worthy replacement until an original 1954 trailer becomes available).

Unless you don’t have access to a TV, Radio, Newspapers or the Internet (which brings up questions about how you are able to read this) you cannot have failed to notice that HMV is in trouble as in it is now in Administration. The shops are remaining open (at least in the UK) while Administrators try to both stabilise the business and find a buyer. Well the other day I did find the perfect buyer (in my opinion) for the brand and that is in the Japanese Company Hankyu Hanshin Toho Group who have interests in Trains, Finance, Retailing, Real Estate and Media. Anyway that is just my opinion (look at the size of the company).

Anyway the main reason for this post is to hopefully give some financial support for HMV by hopefully interesting people to look and buy films from what I think is both the most overlooked section of the store as well as the most underrated therefore increasing HMV’s cash flow and get them out of administration. If HMV Fall, the rest of high street will follow. So today (18/01/2013) in Lancaster I went into HMV and headed for the World Cinema section, an area filled with some of the Best Films in Cinema History. I then chose a selection of films that I have either seen or are well known (so that I have at least heard of them). I then jotted down their prices and I am now about to post these films up. Now while I will link them to a site about them, I will also give you a link for my review of them (if I have previously reviewed them). However I will not give you a picture of them because that will take forever, you will need to rely on the link (the links are in Bold, Black, Italic writing). I also thought, to spice it up for you and also because I thought it would be fun to try and make it look like a Sale Video, a bit like the one Charlie Brooker did for the London Riots.

Kicking off on the 10th January 2013 it is HMV 25% off sale. Head over to the World Cinema section with your cash, cheque book or card and get ready to Spend Spend Spend. Azumi was £10 now £7.50, get the sequelfor £5.25 while the sale remains. Have you visited Spain, well visit it again with some mystical creatures, buy Pan’s Labyrinth, was £11, now £8.25 (review). Do you like watching nothing but the Best Films, why not check out Rashomon, was £1o now £7.50, why not add to it with the Legendary Seven Samurai was £7 now £5.25 (review), but wait there’s more, why not add Yojimbo to your collection, was £7 now 5.25, and the deal just keeps getting better, Stray Dog was £6 now £4.50, why not add another classic to it with Ikiru, was £6, but you can have it for £4.50. But wait there is even more, buy Sanjuro, was £14 now £10.50, The Hidden Fortress, was £7 now £5.25, Throne of Blood, based on Macbeth, this one is set in Japan, was £14 now £10.50 and if that is your sort of thing you may want to purchase RAN which is based on King Lear, was £10, now £7.50 (review).

But why stop there when you could buy one of the Best Films this Century in the form of 13 Assassins, was £8 reduced down to just £6, or why not watch a three-man collaboration in the form of Tokyo!, 3 top directors, one film, was £9 now £6.75. Do you like to see people get hurt, want some good old martial arts action, then check out Ip Man, was £4 now only £3 and why not buy the sequel with it for only £4.50 while the sale is on. Why not check out Ong-Bak, was £6 now £4.50. But wait there is more, why not a triple bill of Bruce Lee with Way of the Dragon, The Big Boss and Fist of Fury for £4.50 each and then why not gulp a history lesson of the man with Dragon The Bruce Lee Story, was £5 now £3.75. Why not check out House of Flying Daggers too, was £12 now £9. Battle Royale was £7 now £5.25. If you’re a fan of The Hunger Games and you are over 18 you may want to give it a go, but why not buy it with Battle Royale 2, was £10 now £7.50. Perhaps you would like to take a trip to Norway and visit some Trolls, well in that case Troll Hunter is for you, was £7 now only £5.25.

With over 277 shops world wide you know where to pick up a copy of any of these above films, but remember, sale and some stores may not last, see the news for more details, MUST END SOON, PLEASE LET IT ALL END SOON.